Charli xcx @ OVO Hydro, Glasgow, 2 Dec
After raving around the world, this year’s biggest pop star finishes her victory lap in Glasgow. More than brat summer, this was the year of Charli xcx, and she’s here to show the Hydro just what it means to be a 365 party girl
Starting tonight's proceedings is Shygirl, the rapper and contributor to the tectonic library of club classics we’ve been playing since June. Her bedazzled ruffled pink outfit, and tenacious techno hits (thicc, 4eva) clash perfectly with her butter-wouldn’t-melt persona. She addresses us in a sugary sweet register; “Thank you for being so beautiful. I only play to a beautiful crowd.” Her charms draw everyone in closer, and by the time she’s jumping to heavy-hitter mr useless, the people are primed.
SOPHIE’s Immaterial precedes our headliner, honouring the artist whose influence is indelibly written across BRAT. Images of Charlotte Aitchison appear on twin screens, a rapid-fire reel of pics that builds up to a bass drop. A canvas the breadth of the stage unfurls from the rafters, a wall of Pantone 3507C ripples from ceiling to floor. The 365 remix rouses the crowd into a fury, and out from under the vast green curtain pops Charli xcx.
After the opening track, Shygirl leaves Charli to rally thousands of concertgoers with lead single Von Dutch. Silhouetted by strobe lights and projected onto the totemic screens, the pop star charges the catwalk, out into the clutches of the crowd. She embodies the runaway record’s Y2K aesthetics in a baby tee and a garment that resembles a micro-tutu, which leaves little to the imagination – those around the stage don’t need to guess anything.
“I only had four dates,” she says, looking at a sea of lime green ravers through oversized sunglasses, “and I chose your city.” But the chat is minimalist, and more commands are given out than compliments, “Everything is – LOUDER! – romantic.”
Charli goes under the walkway to the wire fence tunnel beneath, and dances against the cage separating her from over 10,000 fans. A camera orbits her at all times, projecting her animalistic prowling onscreen for all to see. The most profane move comes during Billie Eilish’s voice clip about a lacy black pair with little bows. Charli climbs the walkway, spits on its transparent floor, and drops to lick it up, with the camera watching from beneath the whole time. I’m gonna tell you right now, it’s all I’m thinking about.
A rising lighting rig on which the singer dances to new heights is the only other significant staging, perfect for the transcendent simplicity that defines BRAT. At one point the visual feed delves into the audience for an attendee whose Apple dance is worthy of broadcast, but that’s the only backup dancer we get – tonight is all about Charli.
Considered album of the year by many publications – including this one – it fits that the setlist is a runthrough of BRAT’s beats, with selections from Charli’s archive mostly appearing at encore. She returns to the stage with Vroom Vroom, and during Track 10 a waterfall opens above the end of the catwalk. Her dance moves under a solitary raincloud in a mass of fans might be the most enduring image of the tour.
Even though BRAT has undoubtedly elevated the young girl from Essex to global icon, there’s an audacious pulse that's been thrumming since her career first drew breath. She even honours her younger self by closing the tour with first hit I Love It, and walks off with a soundbite from bangers past; “It’s Charli, baby!”